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UNIVERSITY OF MASSACHUSETTS 
LIBRARY 


GIFT TO 


UNIVERSITY OF MASSACHUSETTS 
LIBRARY 


from 


THE LIBRARY OF 
ALMA MAHLER WERFEL 


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A COURSE IN 


SIGHT-SINGING 


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MELODIA 


A COMPREHENSIVE COURSE IN 


SIGH T-SINGING 


(SOLFEGGIO) 


THE EDUCATIONAL PLAN BY 


SAMUEL W. COLE 


DIRECTOR OF MUSIC IN THE PUBLIC SCHOOLS OF 
BROOKLINE, MASS., AND INSTRUCTOR IN THE 
NEW ENGLAND CONSERVATORY OF MUSIC 


THE EXERCISES WRITTEN AND SELECTED BY 


LEO R. LEWIS 


PROFESSOR OF MUSIC AT TUFTS COLLEGE 


OLIVER DITSON COMPANY 
THEODORE PRESSER CO., DISTRIBUTORS 
1712 CHESTNUT SIR EET, ULES OEr en 
MADE IN U. 


Copyright 1903, 1904, by Samuel W. Cole and Leo R. Lewis 
Copyright assigned to Oliver Ditson Company, 1909 


INTRODUCTORY 


THE VALUE or SIGIIT-SINGING 


For at least two centuries training in sight-sing- 
ing has been recognized in Europe as fundamental 
to all technical education in music. Americans 
have seemed to set little store by such training ; 
for, today, the great majority of our professional 
musicians, not only instrumentalists but also vocal- 
ists, need unerring instrumental support in “ sing- 
ing at sight " a part-song or an anthem which has 
modulations to any except closely related keys, or 
which abounds in the larger intervals. Obviously, 
inability to read at sight does not preclude good 
performance, after familiarity has been gained by 
instrumental assistance; but probably no one 
would deny that the possibilities of artistic 
achievement are infinitely greater when one has 
acquired the confidence born of genuine ability to 
sing at sight — which ability may be defined as the 
power to know the units of rhythm and of relative 
pitch of any rational musical phrase, and to prove 
that knowledge by singing it correctly at first 
sight. 


Mucu MarERIAL 1s NECESSARY 


Many works on sight-singing have been com- 
piled and written for use in the public schools. 
But the authors of MELoDrA believe that there is 
need of more and better graded material for use in 
conservatories and by private teachers. The pres- 
ent work is an attempt to meet this need. / It rep- 
resents the results of many years' experience, and 
is based on the belief that, whatever be the method 
of presenting the elements of the subject, the sur- 
est road to growth is through actual performance 
of a great number of carefully graded tasks. / 


CoNFIDENCE Must BE DEVELOPED 


A second fundamental thought has been that a 
high degree of self-confidence must be developed 
before one can “stand up and sing ” alone at sight 
a somewhat difficult musical phrase, without other 
assistance than the sounding of the key-note. Ex- 
perience has shown that rhythmical problems are 
quite as often stumbling-blocks to musical students 
as are tonal problems. Therefore, in MELODIA, the 
first eighty pages, which are written without skips 
primarily to develop a ready confidence, contain 


many and varied examples of each of the conven- 
tional rhythm-forms ; and the most deliberate pro- 
gressiveness is maintained in the introduction of 
new difficulties. In a word, it is a feature of 
MELODIA that early emphasis is laid upon rhythmi- 


cal problems. 


THE TREATMENT OF LARGE INTERVALS 


In the treatment of the larger intervals there is 
also a departure from the conventional procedure. 
Instead of taking them in the order of small to 
great, the octave is first presented, because experi- 
ence shows that it is the only " skip" definitely 
recognized as such by most beginners. | The sev- 
enths, sixths, etc., are then presented both in their 
relation to the octave and as composites of the 
steps and half-steps with which the student is 
already thoroughly familiar. 


GENERAL FEATURES OF MELODIA 


A glance at the headings of the successive Series 
will indicate in detail the comprehensiveness of the 
plan. The following general points may be noted : 

1, The typographical arrangement is such that a very 


large amount of material is brought within comparatively 
narrow limits ; 

2, The normal compass of average voices (an octave - 
and five notes from low A) is seldom exceeded ; 


3, Nearly one-half of the unison exercises are written 
in the bass clef, thus forcing sopranos and altos to become 
familiar with that clef ; 


4, The two-part exercises are all written so that they 
may be inverted, the bass being made the tune, and the 
tune the bass; or they may be sung by male voices only or 
by female voices only; thus, each two-part page repre- 
sents two pages of practice material ; 


5, Again, the two-part exercises are adapted to use by 
teacher with pupil in private vocal lessons; 


6, Since all indications of phrasing are lacking, oppor- 
tunity is offered for constructive work of the highest edu- 
cational value. 


INDIVIDUAL WORK ESSENTIAL 


It is expected that, even when the book is 
studied in large classes, much work in individual 
reading will be required by the Instructor; for. 
after all, no one has fully mastered sight-singing 
who cannot sing alone, while beating time after 
the conventional forms. 


As a special—and, perhaps, novel—help in de- 
veloping the sense of individual independence in 
ensemble, there have been included, in Series I, 
exercises which may be sung simultaneously. 
Cases of this sort are indicated in connection with 
each of the respective exercises. Thus I 233 may 
be sung with I 243, I 246 with I 263, etc. Some 
teachers believe so fully in this method of devel- 
oping independence that they cause exercises in 
the same key, and with the same number of mea- 
sures, to be sung together, without regard to the 
tone-content of the exercises. This practice, ar- 
tistically unjustifiable, may have, in moderate use, 
educational value. 


THE GOAL OF MELopIA 


MELopIA undertakes to prepare students to meet 
the most difficult tasks in pitch and rhythm set by 
masters of choral composition. If suggestions of 
phrases from some of the masters have occasion- 
ally been incorporated in the original exercises, 
the reader may be willing to waive a charge of un- 
justifiable appropriation, in view of the specific 
object of the whole work. 


THE MopuLatory STUDIES 


Pages 76 to 80 contain Modulatory Exercises, 
some of which may well be studied earlier than 
their position in the book would indicate. The 
relationship between the objective keys and the 
tonic is indicated by Roman numerals,—capitals 
for major keys and small capitals for minor keys. 
Thus, * To 11" means that the exercise illus- 
trates modulation to the minor key based on its 
super-tonic of the prevailing scale—to D minor, 
if the piece is in C major. Such an exercise 


may well be studied in connection with any ear- 
lier exercise which modulates to any similarly re- 
lated key—to F-sharp minor from E major, for 
instance. Reference to these exercises is occa- 
sionally made in the earlier pages of Series IV; 
but the teacher may best judge whether more 
detailed study of key-relationship is desirable. 


MATTERS OF NOTATION. 


There has been no attempt to preserve absolute 
uniformity as to the details of notation through- 
out the book. On the contrary, it has been 


deemed wise to present a variety of forms and 


usages, in order to accustom the student to the 
practices of various authors and editors. 

A. word is necessary as to the insertion of clefs 
and the use of bars, which features, on casual 
view, might appear to be unsystematic and need- 
lessly unconventional. As a matter of fact, con- 
siderations of brevity have prompted several 
departures from the established usage. For the 
guidance of the singer, however, but a single 
direction is necessary: the prevailing key-signa- 
ture and time-signature are not cancelled 
unless a clef or the regular double-bar [|l] is 
inserted. The double-thin-bar [||] is therefore 
not to be regarded as necessitating a new indica- 
tion of key or time. The time-signature may 
change while the key-signature remains. The reg- 
ular double-bar appears where either a clef or a 
key-signature is changed. The meaning of the 
single-thick-bar [I] or the double-thick-bar [Il], 
as in the Modulatory Exercises and in connection 
with repeat-signs, is, in the respective cases, 
obvious. 


THE SOURCES OF THE SELECTED EXERCISES 


The authorship of the selected exercises and of the excerpts, is indicated by letters following 


the respective numbers. 


of the letters. 


An asterisk shows that some modification other than transposition has 
been made, but not such as to impair the original character. 


Below is a key to the indications 


All exercises not so marked have been written for this book. 


Ad T. Anderton [1836- ] Gn C. F. Gounod [1818-1893] Na J. Nares [1715-1783] 

Ab D.F. E. Auber [1782-1871] Hd G. F. Hàndel [1685-1759] Pa A. Panseron [1796-1859] 
Bh J. S. Bach - [1685-1750] Hr H. L. Hasler [1564-1612] Py C.H.H. Parry [1848- 1 
Be l.vanBeethoven [1770-1827] Hs J. A. Hasse [1699-1783] Rd J. J. Rodolphe [1730-1812] 
Bt A. Bertalotti [1665-1730(?)] Hn J. Haydn [1732-1809] Rs G. Rossini [1792-1868] 

Bn H. Bónicke [1821-1879] Hg J. Higgs [1829-1902] Sb J. N. Schelble [1789-18371 
Br J. Brahms [1833-1897] Kb J. P. Kirnberger [1721-1783] Sn EF. Schneider [1786-1853] 
Cl G. Carulli [1800-1877] La H. F. Langlé [1741-1807] Sm :R. Schumann [1810-1856] 
Cb E. Chabrier [1842-1804] Ls O. Lasso [1532-1594] St J.A.Steffani [1726-1800(?)] 
Ck G. W. Chadwick [1854- 1 Lm H. Lemoine 11786-1854] Ts W. Tschirch [1818-1892] 
Ch L. Cherubini [1760-1842] Lo L. Leo [1694-1756] Vd G. Verdi [1813-1901] 

Cn P. Cornelius [1824-1874] Lw C Léwe [1796-1869] Wg R. Wagner [1813-1883] 
Du F. Durante . [1684-1755] Mn F. Mendelssohn [1809-1847] Wb S. Webbe [1740-1816] 

Fi C.H. Fischer [1800-1875(?)] Mi J. Minard [1845(?)- 1 Wn B. Widmann [1820- ] 
Fr C. Franck [1822-1890] Ms W. A. Mozart [1756-1791] Wil! F. Wüllner [1832-1902] 


b 


TABLE OF CONTENTS 


NNIBROIDUCTORVA S E o Pal ee VALUE C Vu o wl cs 


BOOK I 
FIRST SERIES a 6 5 ; b : . : - : » 6 . : : 
One-part diatonic exercises in step-wise melody — G and F clefs — All major keys to B and to D-flat 
inclusive — All representations of notes and rests of whole-beat length and multiples thereof — 
Elementary presentation of the divided beat. 


SECOND SERIES . : : ; : : : E i ; : , ; ‘ : 
Two-part diatonic exercises in step-wise melody — Keys to B and to D-flat inclusive — All representa- 
tions of notes as in First Series, with greater variety and length of rests — The divided beat in fuller 
presentation. 


BOOK II 
THIRD SERIES : : i 4 : : : : P E : : : ; s 
One-part exercises in step-wise melody in all keys — Graded presentation of all chromatic tones, except 
flat-2 and flat-5 — Development of the minor — The dotted note involving division of the beat — 
Triple and quadruple division of the beat. 


FOURTH SERIES . : : : : : : ; : . ; j ; A s ; 
Two-part exercises in step-wise melody in all keys — Chromatic tones, modulatory and ornamental — 
Development of incidental and extended modulation — Syncopation — Mingling of double and triple 
divisions of the beat. S 


FIFTH SERIES : s : 2 : : : j : ; . : : , ; : 
One-part exercises — Systematic treatment of intervals, beginning with the larger — Skips to and from 
chromatic tones having obvious key-relationship —The commoner augmented and diminished intervals. 


BOOK III 
SIXTH SERIES : , : ; ; , : : s : ; ; 4 0 : 
Two-part exercises embodying all intervals treated in Fifth Series — More elaborate development of 
rhythmical difficulties. especially of syncopation — Lengthy solfeggi from German, French, and 
English sources — Canon and Fugue. 


SEVENTH SERIES : " : , T es : : j . : . s : 
One-part exercises — Systematic treatment of skips to, from, and between chromatic tones — Intro- 
ductory study of passages whose: chromatics "deny" the signature — Advanced solfeggi from foreign 
sources — Specimen difficulties, without text, from the classics. 


EIGHTH SERIES . 2: : : : : : : : : : : i ; 9 : 
Two-part exercises, involving all the difficulties treated in Seventh Series, and fully reviewing the 
rhythmical problems earlier treated — Maximum difficulties of mediated modulation — Special studies 
in the development of independence of the parts. 


BOOK IV 
NINTH SERIES à : ; : F : : ; i ; ; . : ; i 
One-part exercises — Typical passages from carly and recent composers, with text, of difficulty ranging 
from medium to great — Full exposition of chromatics which “deny” the signature — Arbitrary 
changes of tonality. 


TENTH SERIES 3 : : : : : é : : F : i : : : 
Two-part exercises, with text — Representative.excerpts from early and recent composers, with a few 
new exercises, embodying maximum difficulties of pitch and rhythm, as well as the utmost independence 
of parts. 

ELEVENTH SERIES ; : ; : : " : : : : : F : à 
‘Two-part exercises, partly without and partly with text, in the following Church Modes: JEulian, 
Dorian, Jonian, Mixolydian, Phrygian -— Canonic imitation, strict and free, in other intervals than that 
of the octave. 


21 


41 


_ 61 


1or 


131 


ISI 


161 


177 


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I 


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FIFTH SERIES 


art exercises —— Systematic treatment of intervals, beginning with the larger — 


Skips to and from chromatic tones having obvious key-relationship — 


Orie- p 


The commoner augmen- 


diminished intervals 


ted and 


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III 


MELODIA - BOOK 


SIXTH SERIES 


Series V —- More elaborate devel- 


part exercises embodying all intervals treated in 


Two 


opment of rhythmical difficulties, especially of syncopation —— Lengthy solfeggi from German, 


sources — Canon and Fugue 


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131 


SEVENTH SERIES 


Advanced 


part exercises — Systematic treatment of skips to, from, and between chromatic 
solfeggi from foreign sources — Specimen difficulties, without text, fromthe classics 


One 


tones — Introductory study of passages whose chromatics ^ deny the signature — 


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161 


IV 


MELODIA - BOOK 


NINTH SERIES 


;"the signature —— Arbi 


eny 


assages from early and recent composers. with text, of difficulty 


Fvíl exposition of chromatics which "d 


s — Typical p 


One-part exercise 
ranging from medium to great — 


trary changes of tonality 


world. 


- out the 


throngh 


black in throngs 


spi - rits 


fled Hells 


Gods com-mand. 


Af - fright - ed 


Down they sink in the deep 


-a 


vengeance;Tear Cre 


Hear our all ap-pal-ling 


down. Huri an 


wrath a might-ier thunder Hurl an - ni - hi-la-tion 


la - tion down. 


tle life 


lit - 


Spareme my 


To grow more wise, logrow more wise! | 


Togrow more wise, 


4 
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wilt thou too. 


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P s — L——N-——42-—— 

EM. 5. 
EE Ge DALZUETSUAYUES 
— 7 


: D). Se Sn ee eS Ga 
apy fie 0. ee JE, We PhS Se 3S SS SSS 5 = =a 
‘oe ae E j i po Gg j aa A H 
3-—2—5 » [Epp GR GEIS) RR EY ES ES EEE Ae Buren 


Andwhile raft and boat travel by I drink to the folk onthe wa - ter! 


a TS 
—P— 7} << et ft 0 
GS ae ar 


ha! In shackles five forever, Nor cease your plaintive-wail. Ha! ha halha ha! haha! ha — ha! 


When our hearts are op-prest inthemidstof our pleasure, And despair 


—-.without meas - ure Has filld us with dread; Say, where, Say, where 


has gladness fled"? ay, : S s has gladness fled? 


"m 
CoE Gea ss pz] 


longer shall be hidden. Nota trespass,Nota tres - pass go — un - smitten.go un - 


smitten, Not a tres-pass,not a  tres- pass go un - smit - : - ten. 


pe 3 —] 
[A oy a es 
[—][— ee poe 


SSS Lab a AES 
= Beara Md —-— p] 
" 


He weptand thoughtofherlong ^ per  -  ishd. '"Gainst the powrs of 
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163 


E-vil our arms as - sailing, Gainst the powrsof E-vilourarms as - sail-ing, Strongest 


ba 225 


earthly might must be un-a-vail- cee eantine might must be un-a-vail - 


And the An-gels strucktheir im-mor-tal harps, and the wonders, the wonders 


kind, cattle, and creeping thing. and beast ofthe earth after his — Kind. 


AndGod said, Let there be lights in the fir. ma - ment of heavn To di - 


[e ns i = tae 


- [4o 0r com] 
vids the day from the night , And to give m up-on the qu And let them 


SS SS SS SSS jf eS J] 
be for signs and for seasons andfordaysandfor years. He made the stars also. 


° 
GS DJ Ies Ea] ee en ee DEVESSERESI. Sp SSS SS San. 
(3; * j$ | | L—u—L—HAu—3—r———r—rL———r— L——p— Be 
em a —: ar eS Een Garr: 
LEITET EE GES] ZEND) — SS 


And God said,Letthe wa-ters under the heavens be gath-er - ed to-geth - er un - 


eae 
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EE 
earth, andthe gathering of waters called He seas,And Gale saw that it wasgood. 


And God madethe firma - mentand di-vi-ded the wa-ters which were un-derthe firma - 


19Ab 


o: 4. va 4H) S. m 3] [LL 49 | 


P) 
L] cadet 0 EX 9 34 Sew Tbs Bri mut ES 


lay! Ivétravelldfarso I in - tenduntil DUE hereto stay,until to- morrow Sere do SET 


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lo - ris 
He trusted 


re vim do - 


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© LESTE Groom zn uua p peas) 


— 


P. 


- light in Him, 


, if He de 


liver Him 


let Him de - 


’ 


GodthatHe would de - liver Him; 


deliver Him if He delight in Him, if He delight in 


, 


if He delight in Him let Him 


ed are — heal 


sae-cu - la. a 


men,in sem pi- ter-na 


Es 
a 
LU 
bi 


- men 


a 


- men, 


men, a 


3 


fire to judge the worldWhen Thou 


When thou shalt come in the midst of 


in the midst of 


in the midst of fire to judge 


, 


tof fire to judge the world 


O 


me 
5-57-67645-200 


de-liv- er 


O Lord Ged, O Lord God, 


fice to judge, yea,to judgethe world, 


frail sons ter - restrial, Putwhichof you ^ Can view undis- 


heart and humble in spirit. May en-ter this bright, . ho - ly place. 


He is full of heaviness, He is full of heaviness, Thy rebuke hath 


He look-ed for some tohavepity on Him, but there was no 


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lookedforsome to have 


man: nietherfound He — any to comfort Him, He 


1S ES ee ed ee CECI DIU] ee | 
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e CAT. SED 


pity on Him, but therewasno man, iether found He any — to com-fort Fim. 
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Lo! his Empire is un - dy-ing.Pope and  Po-et join the ring. Laurelld 


chiefs his tri- umph sing, Dancing round his pe - des - tal. . 


Nowswarmsthe vil-lage o'er the mead, The rus-tic youth, the rud-dy 


a [zm e 

bs ee a [o] ID Lacu] ATE a [307 
Ce ee EIE nd nd 0 0 I d 
Gs Ge) Gea) 2 


de . sire. 


Ali. tte wealth of the earth Is our de- sire, is our de - sire, is our 


And onward as he bravely toils, In ^ deep-er er - ror plunges still, In 


deep - er er-ror plunges still. De- 


deeper er - ror plunges still, 


ways, O God! O God! Supportus in the strife, support us in the strife, O God! 
5-57-67645- 202 


See us kneeling, trembling, a - dor-ing, 


And as of yore 


And as of yore, 


The gods our offrings 


giveness! 


; Bow down once more. 
frail, Have most need of your for 


dori 


- est of the 


frail 


To 


Scorn each bit-ter 


, 


spurning 


souls all dark withdoubts dis- maying, To 


O tless- 


blessed Truth, light re - veal, 


O 


maying, 


souls all dark withdoubts dis - 


The skipper he blew a whiff fromhispipe,the skipper he blew a 


ed Truth! 


scorn-fvl laugh laughed 


skipper heblew a — whiff fromhis pipe And a 


whiff from his pipe, the 


scorn-ful laugh laughed 


And a 


scornful laugh laughed he, 


he, And a 


ham-mer that break-eth the 


And like a 


fire? 


word like a 


Is not his 


pieces? Likea 


, that breaketh therock in-to 


rock 


ham-merthatbreaketh the 


rock? À 


ham - merthat break-eth, that break -eth the 


fire, and like a 


like a 


fire, 


word 


ham - mer that 


e wicked turn not, The 


ham - mer,A 


an-gry. an-gry with the 
day; 


ev-ry 


fire and like a 
For God is 


like a 


is 
rock. 


breaketh the 


rock. His 


200 


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bow, 


Lord will whet His sword, wil  whetHis sword;andHe hath bent his 


Is notHis word like a 


read-y, 


and made it read-y, 


read -y, 


made it 


hammer that breaketh the 


hammerthat breaketh the rock,andlikea 


and like a 


fire? 


ham - mer that 


fire,andlike a ham - mer,a 


word like a 


Is not His 


rock? 


eth 


, 


rock 


that break- 


break-eth the rock; isnot 


ham - mer that 


fire like a 


rock,is notHis word like a 


hammerthat breaketh 


hammer that break eth the 


What wealthis here, what wealth out-bidding gold, 


Of peace and loveand innocence untold! 


What wealth is 


of peaceand lovewhat wealth out - bidding gold! 


here, __ 


Jewishwoman taken in thevale,And 


is passing fair! 


she 


She is fais? Tis well! Let her approachlFair Jewish women may my mer - 


gaint 


cy 


5-57-67845-200 


Day of an per, Day of an-ger, Day of trouble, 
> 


=> - be > 


per - ish, per-ish like a  bubble,Day of an-ger,Dayof trouble, Timeshall 
ha 45 Vd 
7 Gee ee ees s 


perish like a bubble, So spake 


David and the Sibyl. When thou shalt 


46 Ck 


fire to judgethe whole — ... world. A - las! A - 


las! Thou mightsthavesaved our lives! A las! our children, our 


children and our  wives!But now no  hopel 


now no hope! allhopeis gone,The — blaz - ing sky no pitying raindrop sheds! 


- ureto ru-in is hurld.To fix the af-fec-tion on wealth in pro-fu - sion Is 


but a de-lu-sion! Take heed, sin-ful world, Is but a de-lu-sion, Is 


buta de-lu-sion, Is but a de-lu-sion!Take heed, sin-ful world! Take 


Hou Ge Gee Dn . a Be poem] znq 


Beis See Seb ae es oe 
Ree SS a eee [ER Hel 
eee TUTTA RS MEET 


heed ee v ecc ee i sinfajworldteke heed) sinful world! 


5-57-67645-200 


2's) he, "tis he, ‘tis he who all a - lone, 'tis he who all a - 


lone. a - lone, 


all a - lone, 


Lal a - lone, all. a lone, to SRURINP ME 


ae .. GESEFESI [9 essi Pj IRESQESG E) ee eS Ce rorem] Er] CS) 
aA = ee Cia Eee rmm Cae) pem) 


—_us, erring mor - tals, by cost-ly sac-ri - fice, to save us, err-ing 


i =r: a a LI-I | 4355— 
SE pe el i deum Ent] Deer CEPD EEZS ET ee 
= — EE t —— 
zy 9g9 tye 


mortals,  bycost-ly sac-ri - fice. Ye Prin - SUM (c - ces, ye Prin - - 


- ces,now be-stir ye crown him Lord of all! Ye princes now bestir ye,crownhim 


stir ye, andcrownhimLordof all, and crown himLord of all! Ye Prin- - - - 


gu [1 —R. 
TE iE hee ee fa fen rn Ee) 
E ———— 


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See Be ol) —— prr] 
& SS eee eat 
— aS aa OE wm —— 


— EE Ss ^ EET S C>————_—_,S 
(Sa E 


To _|g_I 44 


foe! In vis - - = ion I be - hold, in vis - - 2 - ion I be - 


hold,how he, at Gods DR hand, — — — — —— with lightnings smites tbe 


d Lx "T [rs pope [5] 
6 — 6 59— Sra: maium pe epe ——— os 


ple from wast - ing care and woe, from wast - ing care and woe 


stand here by the way, and lift my yearn - ing eyes. O 


re —— 
Se Carne [ 0522 eee ESS eee [e Ee Be ee ee eed) eB [ze] um] 
asa Es eee ee Ne Te 1 Sn eae an" SS aaa 
ae el a 29 SS Sao Sass == Ba eee 

aa Be" eer ree eee gi-—- 


gE———. 
Ln | msan [i] L[-—]3 = eae 
= Eden nr iE ur 


Lord in heavn a - bove re-ceive my Sacco MUTA OM MEAM 


Not as the Con-querorcomes,They thetrueheartedcame, Not with the roll of the 


stirringdrums Andthetrumpetthatsingsof fame;Not asthe fly-ingcomein si-lence and in 


b-57-67645-200 


Dum pen - de-bat Fi-li - us, dum pen - de-bat. dum pe - de - bat,dum pen- 


de-bat  Fi-li - us. They have left — unstaind what there they found;Free- 


- - dom to worship God, do SA God, wor - ship God, to wor-ship,to 


—— And make despair and mad-ness please. Ourjoys be - low it can im- 


At a ges -ture of his fin-ger, man's de-vi-ces halt and fail. At 


a gestureof his fin-ger, man's de-vi-ces halt and fail — Pow'r and 


HE 


sigues buta word, speaks th Almight - y but a word, All His 
DET 
= Sm 
rage, must vanish, Ye that have His message heard, Forthwith, forth- 


teal Pa 
Ab Ee poca ya 
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th'Almighty but a me butaword, AT his 
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might - v but a word, speaks 


foes in rage, must  van- ish. Ye who have His message heard, Ye 


—— 
Eee 
L|. g | 
pg 


who haveHis message heard, E: - ‘ry worldly longing ban - ish. De - 


= — — 
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respite? ThatI cannot tell thee, Scarce do I counthowseasonsmove.I can-not name, 


‘nameShouldst thou de- mand it. The man - v  seaslve wanderd o’er: The shore a - 


lone my heartdoth long for, Ne’ershall I reach, my na - tive shore! 
5-57-67645-200 


f2 
Sean BL Se ae ey ma. ee se ee ee 
a a eT See a Se — 


SE EE a Sy SS SSS SS = 


gain ; A beating heart was leftme,for my torment,That might still a - 


Pa ne [pp 
E BS 2S BBs. 
[2:5] See eee 


wake to all my x This quenchless flame I feel within me burn - ing, 


ae ae E ECUEEREN CHE 


CanI, un - - 3 one, love dare to call it? Ah no!It is but longing for re-lease, 


ee d DL pda 
JC 0 1—1— SSS SSS S02 
[Ag ee [p] 


stones beyond com - pare. Be - hold, and so con - vince  thyself how 


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Ne ed [e rs fei [x is ae ee a I 
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great is their val-ue. All thesefor a friend-ly roof give thee. 


Thee be - pw angelsent from heav- en, Thou,who for me  didst 


[5] 9 

SSS5 aoe eS SS AD 

aS Ge ae Ree A) Ed [epee 
aaa 


win un-lookd for grace, Was there a_ fruitless hope to mock me giv-en, Whenthoudidst 


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Thou who for me didst win un-lookdfor grace, Was there a fruit -less 


hope tomock me giv-en, Whenthoudidst show me how to findre - lease? 


Sas LAE Po | 


aS eae V] DI UNE WENT] 
5021240 SS 7 
be Seaver Se Se ieee es 

| sa — =e 


If vaindesiresand earthly longing Haveturndmyheartfrom thee a - way. 
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The sin-ful hopes within me v DM -forethy ble sed fec M ess ON 


d a SS 
eee Ed 


wrestle withthe love I cherishd, Until in death itsflame hath perished. 


Nay,thouart — rav-ing! Tem - perwrathwith  meas-ure! And I will 


teach thee vengeance, (God - like pleasure. For dread re - venge 


dream of joys be - fore ye, Know that our venyeance slumbers not! Ye whonow 


e 
dream of joys be - fore ye, Know that our vengeance slum - bers not! 


64 Wz 


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Giveheed,O King! In fight I gu not leadthem! The Grails sworn champion, 


— a — 
a I-II EE 
ta ost 1 

ps |e [ooo] 
W IYW B 


di - ci-mus te, a-do-ra- mus te. glori-fi-ca- mus te, glo-ri- fi-ca - - - 


a e -  - mus te, glo-ri - ficamuste. a - do - ra - muste,glo-ri - fi- 


-ca’- -  - -musteglo -ri-fi-ca - muste. glo - ri -fi-ca - -  - = 


AW.) — WE — M — — — — 
A.N —— eee — mo 


- - - - - - - - mus te, lau- da -  - - - SES 
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ay) 
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ri -fi- ca-mus te. Truthful runes tomak^treaties  ri- gid set Wotan 


onthe shaft of his spear: this  servedhim to  swaythe world. One bold and 


strong destroy^d in battle that spear. The binding witness of bonds wasshiverd to 


shreds. Thenstraizht Wotan warriors summoned, the worlds ashtrees with - er-ing 


SSS 7 - |] DI-—ILDES-— 1 es 
fe ES ZEE 
Z | ul] U4p-—1——I[—- —] 


, — 
arms with its stemto splin-ter and sunder. The ash des - troyed. For- 


MSpace 
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knot thestring: Sing O sister! thouweaveit now,Weenst thou why this was? 


67 We 


f^ 5 
v, Dp u——M-cp-pE 
nae eo le ee ae SS ee 

(N24) ly. GE EES Gea) Se eee OT) Eee) see ee Se heey ee 

CV roma n ii ee [e [m fps mI —Ó "— !———— /——— mm 


Trish child. where ^ wait-est thou? Say must our sails be weizht - ed? 


Filled by thvsichs un- bat-ed? Waft us. wind strongand wild! Woe, ah 


woe formy child! __ O Irish maid! —. .. my winsome, mar- vellous maid! 
; 5-57-67645-200 


17 


TENTH SERIES 


ts from early and recent composers, 


ive excerp 


embodying maximum difficulties of pitch and rhythm. as well as the 


,with text — Representat 
utmost independence of parts 


1Ses, 


Two part exercises 
with a few new exerc 


Forsportive play, . 


Pt s B—S |j 


44 See ease soe 


ryt o í 


for sportive play, 


for sportive play. 


Forsportive play. 


FOSS ED EE Cz] e p C3 E3 £z ez e ca E 69 e 83 


flay wenow pre- 


Gad AL 


Bm es a a as P7 


for sportive 


for sportive play we now pre- 


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By 


men. 


men, a 


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be 


and hon-or 


[1 IT NE. 
=e 
Praise 


PS a ee 2 Oe 


and hon-or 


raise 


Ay 


ermore. A 


un-to God for- ev - erand for - ev 


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Emp 
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all the wondersof thy glo 


forth 


telleth 


to age 


Age un 


Age un-to age 


all the wonders of thy glo 


telleth forth 


ight. 


- eth in thy m 


eth forth all thewoncersof thy glo 


tell - 


to age 


— Age un 


joic 


might, and re 


)5 ms! 
1A 4B 


as COTY. 
[2 51 


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ethand re 


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joic 


and re- 


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speechnor lan - 


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lovd one, 


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nit 


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N AN N 
SS ES Se SS SS SS SS SSS Sa SS SS T DUBBI 
he ee 0 en ee ee Ee eee eee 1 ED FS ES FS 
ww Df) et ec pt Ee peje La u P pal 
ER MY SA EE Ee) 


Domine 


Domine De-us,agnus De-i. agnus Dei. 
Pal E Em "ESTE 
a - gnus De - i, Fi-li-us Pa - tris. Domine De-usagnus De-i, agnusDei, Domine 


— 
pm ee t e cer [rem t ES | 

SE aa a ee SEI ee A EE EERresmewl SSS SS ed Ge 

Sr So SS eS SS SH 


ex Patre, ex Patre na : ex Patre, ex Petre na tum ante 


—L————H— a 
SS Pea 


Et ex Patre, ex Patre, na - - tum et ex Patre, exPatre,na -  - 


-cula, an-te omnia en 


To battle haste, to battle hasteOLaste!The foe 


To battle. to battle, 0 haste! ___..___ Thefoe lurk -  ethnigh. 


, 


The foethefoe, lurk-eth, 
\ 


To battle haste, to battle haste, == 1 haste! |. .  . The 


5-57-6'7645-200 


7 |: eae mu p D 
S Ge. & reese 


L—3]áh 
[M NS] 


foe 


lurketh, lurketh nigh! 


Now as of yore, 


al Oe 


ei rie 
E SS EETZSU 
[seal 


Thy people,trembling and a - doring, 


m —A 


Our sacrifices 


Our sacri-fi-ces spurn - ing. Silent to our cry, 


C) 9 
[22 4 


spurn 


Ing LX . TUS cf 


rs9—1 
[2-2 228 — «1 
» CE Ead 


ing, 


du | ed ae? 
—_ D 2177 — — 4 | | a5 ng SH = 


Silent to our 


Silent to our 


cry, 


cry, 


Bow. down 


Bow 


E m 1 —f 
eh eer mmn B [o [eer oem [s] 
[—— seme pe a] 


to 


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ELMAEAMÁM——————ÓF—T———À [1 


us indarkness 


now,as of yore, 


Now as. of yore, 


more 


spurn - ing,Silent to our cry, 


Our sac-ri - fi-ces 


lying, 


now as of yore, 


-spurn - ing, 


ye gods, to 


us in darkness lying, O send the light, _ sendthe lightthe bless - ed truth. 


p 2b a 
1 = aes ies 
frye by 


Thou hovrest 


Thou hov rest 


a-bove 


a-bove 


Like a 


flut -ter-ing dove! 
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ro 
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as of endless day! hovrest thou, 


[ecc GSS BSE [v y [nin ed ea | eR IN s ps ey 
EAE eS eS i 
a ez | & 777 —— t—_} po ——6-—&—1—,4———3———— 
ia Be eee eee ee 47 ee ed 


Ah! Dream of de - light, en - kindling the soul, 
: a pie 


hovrest thou, Dream of de - light, en- kind-ling the 


[49 1.5 AECDH Sa EE —— | 
D CHEGBHERAP EU I Ce Ferd [ez ERES REY ee ee EE. 
b—9—9—g— ——— | 4 | 78 — 


ey 7 1 
Vl 
[L/ 
O,why canst 


Thou bov - rest 


soul, O;whycanst thou notling - er? Thou hov'rest a - bove 


Ac-cursed Ca-di, 


like a dove! Ac - cur - sed Ca-di, who, cold -hearted, A 


guest with - in thv house didst slay, "Tis time that 


thou and life were  part- ed; Thou di - est to - day! 


5-57-67645-200 


Hear thy children, 


L^ J. 
Dra DST DS eee eer D — 
ES 4 Eo ee I ee) Se Gas eee [rs 
‘En a TS es SS En Ae eal 


A [eee an | 
D - Es E eoo 1e» 2I DLLLLLL-2EÁULLLLLLLLLLU 


: a 
We hope,O Lordin thee, we hope, we hope Lord ___________ we hope, O 


[ 49 |7 b 
5. ieee EINE 


[53:4 1] — aa I] 
Ge OS & vb) 2o «e Fr ] 
Wu Af 


hope in thee! Nowto the east, nowto the 


e 


west, All is oneto themen ofthe sea. Stormbeat,and wind, blow! 


Stormpbeatjand wind blow! We .—  — de-fv ye! Swift ad -van - cing, 


aming,coursers prancing, «comes . the 


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ley: Pt © ee [| De Amr " | 
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be - hold me ready! Hide 


call! Hide not in dread. Our championwaits!Hide not indread.ourchampion waits! 


e 


Sa ee .. EH 
= 

as alae all 
ee) ee M E- 


S DAI — 38 l-———— E 
we Er A, A ES 4-44 -—————— Rol 
[ ! 3 EOKnp appo. spa emt 


What ho! what ho! Let the port-cul - lis 


can quell, can quell the strife? Let the  port- cul - - lis 


far, far from the madding crowd 
5- 57-67645-200 


190 


wish - es ne- ver learndto stray, to stray. Far 


Their so - ber wish - es ne - ver learnd to stray 


wishes ne - verlearndto 


— Their so - ber wish - es ne- ver learnd to stray, 


neverlearndto stray. Press on, press on, ye 


never ]learnd to stray, learnd to stray. Press on, press on, ye 


"E z^ Ot ia een eae ppc de) ed 
ites Ex<—s-1- SS SS SS oS SS SS Se SS Sars | 
AND, = 3 L I—g d a RR. 7 : 

fight; Still tread - ing each new foeman down, each foe- man down, 
E : 
Ce aS SS Se SS Se Sea SS Se Sa 
E E ee 
fight, Still tread - ing eachnew foe- man,eachfoe-man down,And 


f)s mc 
SS ep = 


— 
And battling for am bright - = - ef, a bright - er crown! 
; PASS : 
6-39 1 = eee a ES e] à 4 [ae É 
y=] pel 1 
batt - ling for a bright-er crown, A oldies MNT crown! 


5-57-67645-200 


ELEVENTH SERIES 


Two-part exercises, partly without and partly with text, in the following Church Modes: Aeolian, 


ther intervals than 


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